It is hard to avoid superlatives when commenting on your videos, so I don't worry about using them. This video was very helpful. I admire your conciseness, clearness, and humor. With this video I also realize that you are bravely revealing ancient shakuhachi secrets and symbols. For this I am not only surprised and astonished; I am flabbergasted. My appreciation and joy only increases with each video. Thank you.
Thanks; it's good to hear you like the videos and ... _my style_ ... hehe. 😉 As the Fuke sect was abolished a long time ago, I'm hopeful there won't be any governmental repercussions for me spilling the shakuhachi beans! 😄
Hey Markus, thanks for all the Shakuhachi videos. From my experience starting out, I have found your videos to be the most helpful in getting started and developing my skills. Thanks for all your hard work in making these, I look forward to watching each and every one of them.
Thank you once again Marcus for explaining this so clearly (I get a feeling I´ll be thanking you more often as I watch your videos along the way 🙂). If you don´t mind me asking: about kari? Is that a neutral position or playing sharp? This confuses me.
You're very welcome! 🙏 What a fantastic shakuhachi question, because I can answer with my favourite answer: it's both! 🙂 In an absolute sense 'kari' means playing sharp by half a step, so ri-kari is the same as ro-meri. In a relative sense it just means 'higher', so, for example, if you play tsu-mei -> re, you're playing 'kari', because the re is played in a higher position (blowing angle) than the tsu-meri. Or you 'go to the kari side' when you're getting quiet and have to compensate the drop in pitch. (I mention something along those lines in my next video actually. 😉)
Hi! I was given a shakuhachi and am working my way through a shakuhachi book (M. Koga's) but there are some things I don't understand and your videos are helping. (I'm a musician trained in Western notation, as you are, so I appreciate your comments regarding the differences between the systems.) The latest issue is "no chumeri" and "no meri". I've watched your notation videos and know the difference between "chumeri" and "meri" but don't know why the word "no" is in front of these words sometimes in the book. Does it mean using partially covered holes to achieve a change in pitch rather than changing the angle and breath? The fingering chart seems to indicate this. Thanks for your help!
Hello! Thanks; it good to hear the videos are useful! 🙏 The 'no' is just the Japanese possessive marker; you could roughly translate 'tsu-no-meri' as 'tsu's meri' (like in 'Mary's lamb'). You often simply would say 'tsu meri'; both mean the same thing.
Thank you so much for your time and effort you put into this video! I have a question, What the difference is between Meri and Otsu? also Kari and Kan.
I'm glad if it's useful! 🙏 Meri: lowering of pitch; kari: raising pitch; otsu: lower (1st) octave; kari: higher (2nd) octave. There's a video on how to play kan somewhere here as well; maybe that's helpful?
Thanks, I'm glad to hear you like the video! For shakuhachi the main risk is cracking of the bamboo (I talk about that in my 'care' video), but other than that there are no problems. Some shakuhachi are a few hundred years old.
Just shake your head! 😆 Well, it's not really different from otsu, but maybe it's easier if you start practising with smaller movements first, because keeping notes stable in kan can be a bit more difficult. Also identify on one point on your chin on which the shakuhachi pivots. Then only move from the middle to one side, not both sides. As you can see it's a bit difficult to describe in words ...
@@MarkusGuhe I feel like I can do it pretty wel with Ro in Kan. It’s gets more difficult with the higher notes though. It’s also pretty easy on my 2.7. Nearly impossible on my 1.6 though. I just need to fine tune my movements I guess.
@@johnyentes6643 The higher the note you're producing on a shakuhachi, the smaller the opening of your mouth has to be. So, it's more difficult to play high notes on a shorter instrument than on a longer one, and it's also more difficult to play high kan notes compared to otsu. In other words, it requires more fine motor control, and that takes some time to develop. Add to that that your embouchure needs to be flexible enough that the changes in blowing angle (which are needed to produce kubi furi) don't make you lose the tone, and you have a bit of a challenge. 'Just' try not to tense up for high notes and practise and it'll get easier over time. ✌
It is hard to avoid superlatives when commenting on your videos, so I don't worry about using them. This video was very helpful. I admire your conciseness, clearness, and humor. With this video I also realize that you are bravely revealing ancient shakuhachi secrets and symbols. For this I am not only surprised and astonished; I am flabbergasted. My appreciation and joy only increases with each video. Thank you.
Thanks; it's good to hear you like the videos and ... _my style_ ... hehe. 😉 As the Fuke sect was abolished a long time ago, I'm hopeful there won't be any governmental repercussions for me spilling the shakuhachi beans! 😄
I never understood why shakuhachi players sometimes moved their head to the side, now I know it behaves like a hole. Great tidbit. Cheers.
Good to hear you learned something. 😉 Although in my case it could also be a nervous tick. 😆
Hey Markus, thanks for all the Shakuhachi videos. From my experience starting out, I have found your videos to be the most helpful in getting started and developing my skills. Thanks for all your hard work in making these, I look forward to watching each and every one of them.
Oh, thank you so much; that really means a lot to me! 😀 Just let me know if there are any topics you find tricky and that might make for a good video!
Thanks; you are truly a good teacher.
Thank your; you are too kind! 🙏
Привет! Я обожаю ваши шутки вначале видео это мери и кари... спасибо за видео 😄
Thank you! 🙏 I’m glad you appreciate the humour! 🙂
Gracias desde México por tu video 🇲🇽
You are very welcome! Thank you for watching! 🙏
Thank you once again Marcus for explaining this so clearly (I get a feeling I´ll be thanking you more often as I watch your videos along the way 🙂). If you don´t mind me asking: about kari? Is that a neutral position or playing sharp? This confuses me.
You're very welcome! 🙏
What a fantastic shakuhachi question, because I can answer with my favourite answer: it's both! 🙂 In an absolute sense 'kari' means playing sharp by half a step, so ri-kari is the same as ro-meri. In a relative sense it just means 'higher', so, for example, if you play tsu-mei -> re, you're playing 'kari', because the re is played in a higher position (blowing angle) than the tsu-meri. Or you 'go to the kari side' when you're getting quiet and have to compensate the drop in pitch. (I mention something along those lines in my next video actually. 😉)
@@MarkusGuhe That makes it more clear for me, thanks!
Hi! I was given a shakuhachi and am working my way through a shakuhachi book (M. Koga's) but there are some things I don't understand and your videos are helping. (I'm a musician trained in Western notation, as you are, so I appreciate your comments regarding the differences between the systems.) The latest issue is "no chumeri" and "no meri". I've watched your notation videos and know the difference between "chumeri" and "meri" but don't know why the word "no" is in front of these words sometimes in the book. Does it mean using partially covered holes to achieve a change in pitch rather than changing the angle and breath? The fingering chart seems to indicate this. Thanks for your help!
Hello! Thanks; it good to hear the videos are useful! 🙏 The 'no' is just the Japanese possessive marker; you could roughly translate 'tsu-no-meri' as 'tsu's meri' (like in 'Mary's lamb'). You often simply would say 'tsu meri'; both mean the same thing.
Very helpfull
I'm glad to hear that! 🙏
Thank you so much for your time and effort you put into this video! I have a question, What the difference is between Meri and Otsu? also Kari and Kan.
I'm glad if it's useful! 🙏 Meri: lowering of pitch; kari: raising pitch; otsu: lower (1st) octave; kari: higher (2nd) octave. There's a video on how to play kan somewhere here as well; maybe that's helpful?
@@MarkusGuhe Thank you for the reply! I've seen the Kan video but I will watch it again to better understand🙏
👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿
👍
Hi Markus! Cool video .. Does a shakuhachi last for life? ... I know a Shamisen can deteriorate over time and can end up expensive . Thank you .
Thanks, I'm glad to hear you like the video! For shakuhachi the main risk is cracking of the bamboo (I talk about that in my 'care' video), but other than that there are no problems. Some shakuhachi are a few hundred years old.
How to you handle vibrato in Kan?
Just shake your head! 😆 Well, it's not really different from otsu, but maybe it's easier if you start practising with smaller movements first, because keeping notes stable in kan can be a bit more difficult. Also identify on one point on your chin on which the shakuhachi pivots. Then only move from the middle to one side, not both sides. As you can see it's a bit difficult to describe in words ...
@@MarkusGuhe I feel like I can do it pretty wel with Ro in Kan. It’s gets more difficult with the higher notes though. It’s also pretty easy on my 2.7. Nearly impossible on my 1.6 though. I just need to fine tune my movements I guess.
@@johnyentes6643 The higher the note you're producing on a shakuhachi, the smaller the opening of your mouth has to be. So, it's more difficult to play high notes on a shorter instrument than on a longer one, and it's also more difficult to play high kan notes compared to otsu. In other words, it requires more fine motor control, and that takes some time to develop. Add to that that your embouchure needs to be flexible enough that the changes in blowing angle (which are needed to produce kubi furi) don't make you lose the tone, and you have a bit of a challenge. 'Just' try not to tense up for high notes and practise and it'll get easier over time. ✌